VIRUS G BY DJ BILLYPHOBIA

THE SILENCE INDUSTRY

"Brother Sing, Sister Shout"

It beggars belief that The Silence Industry is not widely-known project yet, despite it's been no less than nine years since mastermind Graham J. created it somewhere in Vancouver. Particularly, when "Brother Sing, Sister Shout" is the 9th release to their credit and it's available as a 'name your price' download on their Bandcamp profile. Stranger still, while the band's sound ideas are anything but common in the current dark realm and succeed to cross the affiliation divides. Although it's clear that the Canadians are true worshippers of Gothic Rock, they mix this style on their sonic palette with hints of Progressive, Noise, Psychedelic and Post-Punk. From here spring those wintry, yet heady, soundscapes that make their hallmark, which additionally are perfect embodiment for their decadent society and existential uprooting themes. The vocals are ghostly androgyneous and achive to drive home the lyrical angst as they're trapped in a rush of chords and beats. So, The Silence Industry could be stylistically located at some point between Children on Stun and The Last Rites, even though these are but mere tags for enthusiasts. Immediately, when the first song is launched off one is caught by the sense of Gothic Rock well-done. Six minutes last long and thereby "Brother Sing, Sister Shout" (We Are All Migrants) displays a good number of distinctive features. Emphasized bass thrums coupled to jagged, assertive riffs, and machined drums propelling the whole thing with tribal dexterity. When the pace is changed, there are guitars churning out painfully tuneful lines and dreamy chords in symbiosis with the singing. It's a non-stop ride through shadowy lands that hits anthemic heights. Following "Your Skin, Celestial" delves deeper into melody while going down a gear on behalf of the atmosphere. Basslines slash through the distant-sounding, mournful weave of strings, and synths expand the structure living up the title's expectations. Seamless, ethereal and dynamic at the same time, this is another highlight which also speaks well of Graham's talent for long-length songwriting. And the same might be said about "Against The Gods" and "Behind Plastic Eyes", with a Nephilim-flavored driving strings sound and progressiveness, or "Breakin' The Law Of Value", running at full speed on polished tracking rails of bass guitar. The unsettling "We Are The Final Crisis" (A Remix), comprising only of drones, noises and processed winds, and "Beneath A Sinking Sky" (Bonus - Studio Pseudolive Acoustic) close the album triggering an intense feeling of anxiety and despair, what seems totally apt clasp for this thrilling Gothic Rock soundtrack to the apocalypse.